undRess Béton - 'Stuckhousing Quantum Gums'
This project 'Stuckhousing Quantum Gums' by undRess Béton,
composed for 'Glossolalia' Series by Resonance.fm (hosted by Oliver Fay),
is of 60 minutes in length & provides detailed research on Hypocnemis Rhythms.
"Welcome to Jaan Patterson's playful dystopian radio; whose Dada and I-Ching infected station-dial alights upon portmanteau scenes of horror-Punk and appropriated speech, where fractured field recordings and malevolent synthesisers prowl. Patterson's work is, by now, vast and numerous, and goes way beyond the usual slue of blithe laptop cut-up and Conceptualese. This is feral electronica at its best."
-Anthony Donovan (Murmurists)
"Stuckhousing Quantum Gums/
A symphony of composed innovations/
Jaan Patterson is one of those rare individuals you come across once in a lifetime who is an innovative and multi-talented master at his chosen field of creative expression/ In this case the composition of passages of sound/ music/ noise/ voice amounting to the construction of an acoustic symphony of visionary extremes/ Not only does he compose/invent the words and “play” all the instruments but produces a final composition that is way ahead of anything else you are likely to hear in his chosen field/His latest work 'Stuckhousing Quantum Gums' is a cross disciplinary exploration of the mythic chthonian forces of contemporary culture and its environment/ As was the Futurist Marinetti to the 20th Century Jaan is an aggressive intellectual phenomenon of the 21Century/ Jaan works within a theoretical and practical framework that seeks to expand the concept of the musical realm using and manipulating a wide selection of sounds/tones/percussive syntax/electronic keyboards and diabolical effects to achieve this effect/ He manages to mould and compose this prodigious orchestra of sonic possibilities into an acoustic heterogeneity of audible pulses pushed to its outer human limits/Jaan Patterson uses noise to make music and music to make a synthetic production of infinitely subtle chromatic refrains/ One must not underestimate the inherent difficulties in maintaining a composition of this complex nature/precise and yet at times bordering on the chaotic/ Great skill is required to fill a passage of music with so many potential orientations/ Be prepared to be confronted with the marginal limits of what might be heard if listened to with imaginative resolution/ From the sparse intensity of the opening passages devising a strained viscosity/a tensity of sounds almost at breaking point/ percussion enters the mix/ the pace increases and pulls away to enter the galaxy of innumerable noise additions/ snatches of ghostly voices/ partial spaces of almost silence fade/ contorted electronics force their way across the membrane of sound puncturing and rupturing the process of “listening” to what might be heard next/ At times the music is primal in its textures creating its own genetic formula as a coda that repeats itself thru out the composition and contributes to maintaining coherence/ if such a state is desirable for we must bring an open mind to the apprehension of this music/ Moving thru tribal beats radically processed/ A certain fragility exists in parts of the composition which is placed against the machinic tones of metal psychodelia/ The mind reels under the attempt to keep pace with the ferocity and paradoxes of the work/ The sacred and the profane present themselves as a dialectic of inserts and intervals drawn from the history of classical and popular music/ Static as parasite vies with sonorant synthesizer notes and the almost operatic background of vocal seductiveness/ The playing with depth and space in the composition is formidable as a technique/ At times the mixing of the sounds foregrounds a particular fragment then suddenly fades it to silence only to replace it with an other enigmatic vocal or insistent instrument/ a trace coming from complex origins bringing with it a sequence of thoughts/images/words/ a rationality of infectious dis-harmony/ ”..that sound can you believe it with their noise pollution”/ The listener is constantly moved from sound to noise to sonic invention of the audible/ The composition seems about to end several times but there is no closure/ Schema follows refrain/ Words dominate the latter part of the work but what are we hearing?/ Words as direct meaning elude the listener/ Several listenings piece together a narrative of recombinant potentials/ Did I hear reality?/ Was that the word “dissipation”?/ Knowing what is not the point/ We are traversing a continent of provocative new sounds that defy explication/ This is what makes the work unique and original/
This composition is a fascinating exhumation of the possibilities of what the ear can hear and the mind is able to think of as image/How does it end?/ Abruptly/ One thing is certain/ Jaan Patterson is the Quantum Mechanic of the new symphony of sonic intellectual activity/ This composition brings about an indispensable revolution in the world of sound and word/"
-Lee Kwo (Bizarre Device)
Oliver Fay, Anthony Donovan, Lee Kwo